Plot: Presented by Gekidan?Shinkansen, a company that has been noted by critics for both its financial and artistic success since the late 1980s, this modernization of "Othello" — which has just played to full houses in Osaka for a week — recasts the play's eponymous medieval North African general as a prewar yakuza boss in Kobe. Despite the introduction of gangsters, though, this adaptation doesn't stoop to sensationalism — at least no more than the original, with its loves and disloyalties surrounding an outsider in a prejudiced society and the ensuing fatalities. Hidenori Inoue , Gekidan?Shinkansen's founder and director, said at a recent press conference that the framework, insights and portrayal of characters' relationships in a play such as "Othello" are all familiar to theatergoers in Japan. However, Japanese audiences sometimes have difficulty grasping certain aspects of foreign culture, such as history and religion. Hence he said his aim was to produce a less daunting "human tragicomic" version of the play. To realize his vision, Inoue enlisted Go Aoki — with whom his company worked to great acclaim on 2008's "Izo" — to write a new version of "Othello" in which Aoki has brilliantly rendered the black outsider Othello (Jun Hashimoto) as a half-Brazilian gang boss in Kobe, and his beloved new wife, Desdemona — whose father is a senator in Shakespeare's play — as Mona (Satomi Ishihara), the innocent young daughter of a rich doctor. As in the Bard's story, things start to turn sour after Othello is tricked into believing that Mona is having an affair with his loyal lieutenant Shiomi (Kanata Irei). All this has been planned by Aoki's version of Iago, Miminashi (whose name means "no ears"wink.gif, the scheming member of Othello's gang, humorously played by Tetsushi Tanaka. This is Shakespeare as never seen before. Yet even with all the drastically different cultural references, not to mention Inoue's trademark showbiz style using loud (recorded) rock music, "Minatomachi Junjo Othello" remains true to the core of Shakesepeare's 1605 "Othello: The Moor of Venice." But it is also a bona fide Japanese work, and Hashimoto, it must be said, is outstanding in the title role for his interpretation of the lonely, oft-derided aggressive outsider whose only weakness is love. (Japantimes.co.jp)

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